Rita Rohlfing
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Rita Rohlfing (born 1964 in
Bad Oeynhausen Bad Oeynhausen () is a spa town on the southern edge of the Wiehengebirge in the district of Minden-Lübbecke in the Ostwestfalen-Lippe, East-Westphalia-Lippe region of North Rhine-Westphalia, Germany. The closest larger towns are Bielefeld (39 ki ...
) is a German painter, photographer and
installation art Installation art is an artistic genre of three-dimensional works that are often site-specific art, site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior intervent ...
ist.


Biography

Rita Rohlfing studied from 1985 to 1991 at the
Braunschweig University of Art The Braunschweig University of Art (Hochschule für Bildende Künste Braunschweig, HBK) is the second largest fine arts college in Germany. History The history goes back to the “Zeichnen-Instithut” (Drawing Institute) founded by the Bruns ...
. In 1992 she was appointed "Master Student" (Meisterschüler) by ''Bernd Minnich'' and ''Roland Dörfler''. She also received the "Dragoco Scholarship for Young Artists" at the Rudolf-Jahns-Haus in
Holzminden Holzminden (; ) is a town in southern Lower Saxony, Germany. It is the capital of the district of Holzminden (district), Holzminden. It is located on the river Weser, which at this point forms the border with the state of North Rhine-Westphalia. ...
and was honoured with an exhibition of her
panel painting A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together. Until canvas became the more popular support medium in the 16th century, panel painting was the normal method, when not pain ...
s in 1992. In 1994 she received a scholarship for the United States from the
German Academic Exchange Service The German Academic Exchange Service (DAAD; ), founded in 1925, is a joint organization of German universities and student bodies to foster their international relations. Since 1 January 2020, the president has been Joybrato Mukherjee. Organisa ...
and studied there at the
School of Visual Arts The School of Visual Arts New York City (SVA NYC) is a private for-profit art school in New York City. It was founded in 1947 and is a member of the Association of Independent Colleges of Art and Design. History This school was started by Silas ...
in New York City. In 2002 she was a stipendiary of the "Stiftung Künstlerdorf Schöppingen" and in 2004 she was granted a junior scholarship by the
Kunststiftung NRW Kunststiftung NRW (''Art Foundation NRW'') is a foundation created by the government of the Germany, German state North Rhine-Westphalia. It was established on September 12, 1989, and started operations in the spring of 1990. It is based in Düssel ...
. Rita Rohlfing is a member of the
Deutscher Künstlerbund The Deutscher Kuenstlerbund (Association of German Artists) was founded in 1903 on the initiative of Count Harry Kessler, a promoter of arts and artists; Alfred Lichtwark, director of the Hamburg Art Gallery; and the famous painters Lovis Corin ...
and of the "Westdeutscher Künstlerbund". She lives and works in
Cologne Cologne ( ; ; ) is the largest city of the States of Germany, German state of North Rhine-Westphalia and the List of cities in Germany by population, fourth-most populous city of Germany with nearly 1.1 million inhabitants in the city pr ...
. In 2018 Rita Rohlfing was awarded the , which was granted for the tenth time this year.


Artistic work

Rohlfing's works of art are located at the border between sculpture and painting. In addition to
panel painting A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together. Until canvas became the more popular support medium in the 16th century, panel painting was the normal method, when not pain ...
s, she creates object-like wall and floor elements and designs spatial installations: "If her works with their vital interest in paint and its effects also have strong roots in the field of color painting, they, with their emphasis on material and spatial effects, always present themselves as three-dimensional objects and as such have a relation to sculpture. In a large-scale format they even expand into veritable environments." (In German "Wenn auch ihre Arbeiten mit ihrem vitalen Interesse an Farbe und Farbwirkung eine starke Verankerung im Bereich der Farbmalerei besitzen, so präsentieren sie sich mit ihrer Betonung von Material und Raumwirkung doch immer auch als dreidimensionale Objekte und besitzen als solche einen skulpturalen Bezug; im Großformat weiten sie sich sogar zu veritablen Rauminstallationen.")


Panel paintings

Rohlfing's panel paintings are usually very large, irregularly shaped and monochrome, painted in bright red tones that radiate intensively into the surrounding space. Although the shaped canvases hangs on the wall like pictures, their form creates the impression of three-dimensionality. This becomes clear in her work "R.o.T." If one is standing directly in front of the work, it appears like a usual rectangular mural. But if the viewer moves and changes his point of view, he recognizes that the canvas is thicker at the top than at the bottom and the character of the
rectangle In Euclidean geometry, Euclidean plane geometry, a rectangle is a Rectilinear polygon, rectilinear convex polygon or a quadrilateral with four right angles. It can also be defined as: an equiangular quadrilateral, since equiangular means that a ...
becomes questionable. It seems as if the picture surface is curving towards the front into the room. Rohlfing's panel paintings are thus neither pure wall paintings nor pure sculptures, but rather they are expressions of the artist's cross-genre working method. RitaRohlfing red panting 1992.jpg, Panel painting "R.o.T.", 1992
Acrylic and Oil on Canvas
142 x 87,5 inches RitaRohlfing red panting 1998.jpg, Panel painting "R.o.T.", 1998
Acrylic and Oil on Canvas
79 x 133 inches RitaRohlfing red panting 2001.jpg, Panel painting "R.o.T.", 2001
Acrylic and Oil on Canvas
20 x 27,5 inches


General information on spatial installations

In her spatial installations, Rita Rohlfing uses elements of
minimalism In visual arts, music, and other media, minimalism is an art movement that began in the post-war era in western art. The movement is often interpreted as a reaction to abstract expressionism and modernism; it anticipated contemporary post-mi ...
,
monochrome painting Monochromatic painting has played a significant role in Modernism, modern and Contemporary art, contemporary Western world, Western visual art, originating with the early 20th-century European avant-gardes. Artists have explored the non-represent ...
, and Color Field painting. She often combines various elements such as panel paintings, photographs and spatial installations into a
Gesamtkunstwerk A ''Gesamtkunstwerk'' (, 'total work of art', 'ideal work of art', 'universal artwork', 'synthesis of the arts', 'comprehensive artwork', or 'all-embracing art form') is a work of art that makes use of all or many art forms or strives to do so. ...
. Every single element of the installation is carefully planned to achieve the desired effect for the viewer. The use of color in her objects is an integral part of her productions, mostly she uses different shades of Red tones that radiate intensively into the surrounding space. In her individual objects, the colored elements are often hidden under frosted acrylglas panels. They get a diffuse nuance and look "nebelig" (in English "foggy"). The observer cannot see which elements are responsible for the color effect. With her installations, Rita Rohlfing transforms existing spaces to such an extent that a kind of "second space" is created that superimposes the existing space, a "virtual space" so to speak. Considering the names of their exhibitions/installations such as "Lufftöne" (in English "Air Tones"), "Drahtseilakt" (in English "Balance Act"), "Scheinbar" (in English "Seemingly"), "Transparenzen" (in English "Transparence") and "Ambivalenz" (in English "Ambivalence"), many areas fascinating Rohlfing are hereby described. The essential aspect is always that nothing is certain or irrevocably fixed. Rooms change as one walks through them; depending on the point of view, the observer sees other parts of the installation and becomes part of the installation while walking through it. The installation effects the whole heart and soul. People locate themselves in a spatial structure among other things through the angles that indicate to them where the walls are, what limitations the space has, etc. Rita Rohlhfing uses this basic knowledge to design her spatial installations in such a way that the visitor experiences irritations, perspectives are altered, and the rooms appear larger, higher, narrower, or even disappear altogether, using both acute and blunt angles. The spatial installations of Rita Rohlfing developed from room-related installations to installations that not only determine the entire space, but also change its architecture for a limited period of time, up to presentations that make use of a complete museum in all its possibilities: "For Rita Rohlfing, rooms are no longer just mirror surfaces and virtual extensions of her works; the occupation of real space combined with the creation of color spaces has become part of her artistic concept." (In German "Räume sind für Rita Rohlfing nicht mehr nur Spiegelfläche und virtuelle Erweiterungen ihrer Arbeiten, die Besetzung des Realraums verbunden mit der Erzeugung von Farbräumen ist Teil ihres künstlerischen Konzeptes geworden.")


Installation "Lufttöne" ("Air Tones", 1999)

Rohlfing's work in Kunstmuseum Mülheim an der Ruhr covered the entire 16 metre deep and 12 metre wide room. As soon as the visitor entered the room, he saw five frosted acrylic glass panes hanging in front of him, floating one meter above the floor, three meters long, appearing opaque. At a distance of 3 metres, another row of acrylic glass panes, also suspended from the ceiling, followed at the same distance as the first row. Walking through the room, depending on the observer's point of view, there were prospects of this second row. A further 3 meters away was another row of aluminium panels, which were suspended from the ceiling and monochrome painted in various "states of red": Pure
Vermilion Vermilion (sometimes vermillion) is a color family and pigment most often used between antiquity and the 19th century from the powdered mineral cinnabar (a form of mercury sulfide). It is synonymous with red orange, which often takes a moder ...
, Orange and pink radiated into the surrounding environment: "The painted alumium plates seem to float in the room, and are blurred into diffuse 'air tones' through reflections in the plexiglas. What arises is a space sculpture, which reconstitutes itself constantly as the observer moves through the various points, until the color red becomes palpable as a red fog, like a veil, like an air tone." (In German "Die bemalten Aluminiumplatten scheinen im Raum zu schweben und werden durch die Spiegelung in den Plexiglasscheiben zu diffusen Lichttönen 'verschwommen'. Es entwickelt sich eine Gesamtskulptur, durch die der Betrachter sich bewegt und die sich im Abschreiten der unterschiedlichen Raumwerte immer wieder nu konstituiert und im Raum gleichsam die Farbe Rot wie einen roten Nebel, wie einen Schleier, eben wie einen Luftton erfahrbar macht.") Through the filter of the opaque, milky-looking glass panes, the color is fanfolded into a kind of spatial color, it loses its material quality and becomes – very appropriately the artist named the installation with this title – an "air tone" that increases the vibration intensity in the entire room. RitaRohlfing Lufttöne 1999 installation art.jpg, Spatial installation "Lufttöne", 1999,
Kunstmuseum in der Alten Post
Mülheim an der Ruhr
Acrylic glass, Aluminium, Varnish, Wire rope, 217 x 571 x 449 inches RitaRohlfing Lufttöne 1999 installation art 3.jpg, Spatial installation "Lufttöne", 1999, Detailed view 1 RitaRohlfing Lufttöne 1999 installation art 1.jpg, Spatial installation "Lufttöne", 1999, Detailed view 2


Installation "Drahtseilakt" ("Balance Act", 2000)

In 2000 Rita Rohlfing was able to redesign the exhibition space in the Gotha Art Forum. It is an exhibition space that is very long and high. The room is spanned by an iron bridge to which stairs lead on both sides. Rita Rohlfing realized a walkable work of art: she installed 18 aluminum panels along the two side walls, 3 meters high and 1.50 meters wide, which emphasize the longitudinal axis of the room. A further 14 three-metre-high steel girders were aligned in parallel at regular intervals. Between these, she fastened long steel cables that were anchored in the floor. As a result of these interventions, the space suddenly appears constricted, the viewer locked up in the eight narrow passages provided – they determine the direction of the steps. Other visitors of the installation can be seen, but a closer contact seems impossible, because one cannot leave the paths: "The faculties of the walkers within this installation – visual perception, overall psychic state – are activated by the combination of linear guideposts and opacities, stimulating subjective associations." (in German "Die Sinne des Durchschreitenden, sowohl seine optische Wahrnehmung als auch ihre Beeinflussung durch sein psychisches Gesamtempfinden, werden durch diese linearen Lenkungen oder Verunklärungen des Blicks aktiviert und zu subjektiven Assoziationen gereizt.")


Installation "Rotlichtbezirk" ("Red Light District", 2002)

With her installation "Rotlichtbezirk" Rita Rohlfing went one step further. Not only did she use the available space for her installation, but through her work she changed the entire architectural ensemble of the exhibition space for a limited time. The "Alte Rotation" is a former industrially used room with two floors and a staircase in the middle of the room that connects the two. Rohlfing designed 14,5-meter long and 4,4-meter high containers for this area, which completely concealed the stairs and the basement floor. At the edges they were framed with aluminium panels and the upper side was covered with
PVC Polyvinyl chloride (alternatively: poly(vinyl chloride), colloquial: vinyl or polyvinyl; abbreviated: PVC) is the world's third-most widely produced synthetic polymer of plastic (after polyethylene and polypropylene). About 40 million tons o ...
film, which glowed reddish from the depth. On the one hand, the room was given a simple sobriety by the rectangular shape of the floor objects and the metallic appearance of the aluminium panels. At the same time, the reddish shimmer of the color radiation into the room gave it an "emotionally heightened color colorfulness". (In German "emotional gesteigerte Farbigkeit".) While the visitor walks around the installation, he sees the color change in different shades of red and yet cannot recognize where the light actually comes from. For the viewer of the installation, it looks as if the containers have a mysterious inner life, a kind of infinite depth in which mystery happens.


Installation "Das Virtuelle im Konkreten" ("The Virtual in the Concrete", 2015)

With the Clemens Sels Museum Rita Rohlfing for the first time had a complete museum at her disposal for her orchestration. her in her conception for the exhibition, she dealt intensively with the "bulky architecture" (in German "sperrigen Architektur") the building. It was realized in 1975 by Harald Deilmann in the style of
postmodern architecture Postmodern architecture is a style or movement which emerged in the 1960s as a reaction against the austerity, formality, and lack of variety of modern architecture, particularly in the International Style (architecture), international style adv ...
. The massive concrete elements construct a space that radiates stability and clarity. In contrast, the artist Rita Rohlfing is particularly interested in the diffuse and mysterious nature of spaces, in the instability in experiencing spatiality" (in German "Verunsicherung im Raumerlebnis") caused by light, colors and spatial irritations. It was therefore a particular challenge for her to make these spatial experiences possible despite the rigid architecture. Eleven of the total of 19 works of art were created especially for the museum. Objects, installations, photographs and a projection were used: "The artist, who has been living in Cologne for a long time, makes the museum dance with her very different spatial situations." (in German "Die seit langem in Köln beheimatete Künstlerin bringt das Museum mit seinen ganz unterschiedlichen Raumsituationen zum Tanzen.") For the foyer with the staircase consisting of "concrete cubic blocks" ( in German "blockhaften kubischen Betonelementen") Rohlfing designed a 12 x 6.50-meter
black and white Black-and-white (B&W or B/W) images combine black and white to produce a range of achromatic brightnesses of grey. It is also known as greyscale in technical settings. Media The history of various visual media began with black and white, ...
projection, "The Virtual in the Concrete". It was projected onto the concrete body of the staircase and shows a photograph from New York, a tall building with fire ladders, photographed by Rohlfing in extreme view from below. This ''overlay'' of the massive staircase with the small structures and lines of the projection counteracts the heaviness of the staircase: "By means of this specific intervention, Rita Rohlfing has seemingly – that is, virtually – contrived a visual interplay of lightweight and heavy, near and far, large and small, an effect that unfolds between reality and projection, between surrounding space and artwork." (In German "Durch diesen gezielten Eingriff hebt Rita Rohlfing das Konstruktive der realen Architektur scheinbar – also rein virtuell – auf und lässt ein visuelles Wechselspiel von Leichtigkeit und Schwere, Nähe und Ferne, Groß und Klein entstehen, das sich wirkungsvoll zwischen Realität und Projektion, zwischen Umraum und Kunstwerk entfaltet.") The "untitled spaces" attached to the wall also have an effect, objects made of matted acrylic glass cases inside of which there are colored form elements which are not exactly recognizable and which radiate into the room. Here, too, the position of the observer determines which colors can be perceived: "What appears almost colorless from a fixed position can be transformed into a surprising colour experience from another perspective". (In German "Was von einer fixierten Position aus fast farblos erscheint, kann sich aus anderer Perspektive in ein überraschendes Farberlebnis verwandeln.") Rohlfing realized the installation "Anscheinend" (in English "Apparently") in the garden hall of the museum. Matted acrylic glass walls, more than four meters high and two meters wide, radiated a red hue that could be perceived from inside and outside.A window thus became an opening between the inside and outside, which could be viewed from both sides and whose coloring fluctuated in different shades of red depending on the incoming daylight. Another element of the exhibition were the large photographs entitled "Scheinbar" (in English "Seemingly"), which had a height of 2 meters and a width of 1.25 meters. They show an obviously enlarged image of an indefinable ''something''. Nothing in this exhibition is clear, sharply defined, precisely delimited. On the contrary, borders between inside and outside become almost permeable ''membranes'' as in the installation in the garden hall; the wall objects shine in the most varied colors, but the visitor cannot be sure where the light comes from, since the matte acrylglas makes it impossible for him to see through them; the photographed objects do not reveal themselves to him in the photographs, no matter how close he looks at them: Everything in this exhibition breathes mystery and enigma and thus stimulates reflection on one's own perception: "In her works, she reflects the fact that we live in a present age that is enormously complex and, in its many aspects, has become incomprehensible." (In German "In ihren Arbeiten reflektiert sich die Tatsache, dass wir in einer Gegenwart leben, die ungeheuer komplex und in vielen ihrer Aspekte unverständlich geworden ist.") Gesamtkunstwerk Das Virtuelle im Konkreten Rita Rohlfing Anscheinend.jpg, Part of the Spatial installation
Title "Anscheinend", 2015, Clemens Sels Museum Neuss, Mixed Media
177 x 67 x 8,5 inches Gesamtkunstwerk Das Virtuelle im Konkreten RitaRohlfing projection 2015.jpg, Part of the Spatial installation
Projection "The Virtual in the Concrete", 2015
394 x 256 inches Gesamtkunstwerk Das Virtuelle im Konkreten Rita Rohlfing Scheinbar.jpg, Part of the Spatial installation, Photographs "Scheinbar", 2015
Lamda Print mounted behind Acrylic glass af Aluminium-Dibond
each 78,5 x 49 × 1 inches


Other installations

* 2009: ''Fully Booked – Hotel Beethoven'', Installation in public space, Moving Locations registered association, Bonn, Germany * 2010: ''Mapping the City'', Installation in public space, Vorgebirgspark Sculpture, Cologne, Germany * 2013: ''Heidenheim'' Laureate of the Sculpture Symposium Werk 13, Permanent Installation, Kunstmuseum Heidenheim, Germany * 2017: ''Acht Fahnen'', Installation in public space, Radevormwald, Germany RitaRohlfing reflection installation art 1.jpg, Permanent installation "Reflection", 2013, Palace garden Heidenheim an der Brenz, Stainless steel, Lacquer
98,5 x 590 x 315 inches RitaRohlfing reflection installation art 2.jpg, Detailed view Permanent installation "Reflection" RitaRohlfing reflection installation art 3.jpg, Detailed view Permanent installation "Reflection"


Collections (selected)

* Deutsche Bank Art Collection, Frankfurt am Main, Germany * Kunstmuseum Gelsenkirchen, Gelsenkirchen, Germany


Solo exhibitions

* 1999: ''Rita Rohlfing'', Kunstmuseum Villa Zanders, Bergisch Gladbach, Germany * 2002: ''Rotlichtbezirk'', Alte Rotation,
Rheinisches Landesmuseum Bonn The Rheinisches Landesmuseum Bonn, or LVR-LandesMuseum Bonn, is a museum in Bonn, Germany, run by the Rhineland Landscape Association. It is one of the oldest museums in the country. In 2003 it completed an extensive renovation. The museum has a ...
, Germany * 2004: ''Transparenzen'', Verein für aktuelle Kunst Ruhrgebiet e. V., Oberhausen, Germany * 2006: ''Ambivalenz'', Kunsthaus Nordrhein-Westfalen Kornelimünster, (two corresponding Solo exhibitions in different rooms) Kornelimünster, Germany * 2014: ''Rita Rohlfing: Objekt, Malerei'', The Art Collection Upper Austria, Linz, Austria * 2015: ''Rita Rohlfing – Das Virtuelle im Konkreten'', Clemens Sels Museum Neuss, Neuss, Germany * 2018: Exhibition on occasion of winning the 2018, Gesellschaft für Kunst und Gestaltung, Bonn, Germany * 2020: ''Passage Rot'', Dr. Carl Dörken Galerie, Herdecke, Germany * 2021: ''Rita Rohlfing: Hoffent_Licht'', Gustav-Lübcke-Museum, Hamm, Germany * 2021/2022: ''From Red to Violet. Rauminstallation von Rita Rohlfing'', Kunstmuseum Gelsenkirchen, Gelsenkirchen, Germany * 2024: ''Farb–Licht: Malerei, Objekt, Installation'', Stadtmuseum Siegburg, Germany File:Kunst von Rita Rohlfing Installationsansicht HOFFENT LICHT 2021 Gustav-Lübcke-Museum, Hamm.jpg, Rita Rohlfing: Installation view ''Hoffent_Licht'', 2021, 330 × 1070 × 1030 cm,
Gustav-Lübcke-Museum, Germany File:Kunst von Rita Rohlfing Installation 2020 Passage-ROT 270x1200x800cm.jpg, Rita Rohlfing: Installation ''Passage Rot'', 2020, 270 × 1200 × 800 cm,
Dr. Carl Doerken Galerie,
Herdecke, Germany File:Kunst von Rita Rohlfing Installationsansicht From Red to Violet 2021 Kunstmuseum Gelsenkirchen, Deutschland.jpg, Rita Rohlfing: Installation ''From Red to Violet'', 2021, 318 × 1140 × 1110 cm, Kunstmuseum Gelsenkirchen, Germany


Group exhibitions

* 1998: ''KölnKunst'', Josef-Haubrich-Kunsthalle, Cologne, Germany * 2003: ''Farbecht – Echt Farbe'',
Ludwig Forum für Internationale Kunst The Ludwig Forum for International Art is a museum for modern art in Aachen. It is based on the Ludwig Collection, which was brought together by the Aachen collector couple Irene and Peter Ludwig, and is supported by the Peter and Irene Ludwig F ...
, Aachen, Germany * 2007: ''Raumobjekte, Teil VII'', Old Mansion of the Kunstmuseum Gelsenkirchen, Gelsenkirchen, Germany * 2011: ''Statisch – Dynamisch, Mannheimer Kunstverein, Mannheim, Germany * 2011: ''Frontierspirit'', M. K. Čiurlionis National Art Museum, Kaunas, Lithuania * 2011: ''Transparency. Looking through'', Vasarely Museum, Budapest, Hungary * 2011: ''Luft. Aire compartido'', Museo de Arte Moderno del Estado de México,
Toluca Toluca , officially Toluca de Lerdo , is the States of Mexico, state capital of the State of Mexico as well as the seat of the Municipality of Toluca. Toluca has a population of 910,608 as of the 2020 census. The city forms the core of the Grea ...
, Mexico * 2013: ''Wir wieder hier'', BO–WKB 2013, Kunstmuseum Bochum, Bochum, Germany * 2013: ''Hauptsache Grau'' Mies van der Rohe Haus, Berlin, Germany * 2013: Bildhauersymposium and Exhibition ''Werk 13'', Winner of the symposium ''Sculptures in Public Space'', Kunstmuseum Heidenheim, Heidenheim, Germany * 2015: ''Green City. Geformte Landschaft – Vernetzte Natur. Das Ruhrgebiet in der Kunst'', Ludwiggalerie Schloss Oberhausen, Oberhausen, Germany * 2018: ''Köln plus – Farbmalereipositionen'', Verein für aktuelle Kunst Ruhrgebiet e.V., Oberhausen, Germany * 2019: ''Embodying Colour V'', Museum–Wilhelm-Morgner, Soest, Germany * 2019: ''Bauhaus*innen Räume 1919-2019'',
Bonn Women's Museum The Bonn Women's Museum () is a women's museum in Bonn, Germany. It was founded in 1981 by Marianne Pitzen (the current director) and an interdisciplinary group of working women, and claims to be the first museum of its kind in the world.
, Bonn, Germany * 2021: ''Osas: A dolgok konstellációi I. – Konstellationen der Dinge I.'', Vasarely Museum, Budapest, Hungary * 2021: ''Farbe – Raum – Objekt. Eine Ausstellung zum Jubiläum des Mülheimer Kunstvereins im Kunstmuseum Temporär und in der Galerie d'Hamé'', Kunstverein Mülheim and Kunstmuseum Mülheim an der Ruhr, Mülheim, Germany


References


Further reading

* * * * * * * * *


External links


Website von Rita Rohlfing

– Rita Rohlfing at Artfacts

– Rita Rohlfing at Kunstaspekte

Film on the exhibition ''Passage Rot'' 2020 at the Dr. Carl Dörken Galerie, Herdecke, Germany

Film on the exhibition ''Hoffent_Licht'' 2021 at the Gustav-Lübcke-Museum, Hamm, Germany
{{DEFAULTSORT:Rohlfing, Rita German installation artists Minimalist artists 20th-century German painters 21st-century German painters German modern painters German abstract painters German contemporary artists People from Bad Oeynhausen 1964 births Living people 20th-century German women painters 21st-century German women painters